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Journal articles on the topic 'Dystopia'
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1
Hochberg, Gil. "Dystopias in the Kingdom of Israel: Prophetic Narratives of Destruction in Recent Hebrew Literature." Comparative Literature 72, no. 1 (March 1, 2020): 19–31. http://dx.doi.org/10.1215/00104124-7909950.
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Abstract This article is about a recent wave of literary dystopias published in Israel, most of which center on the soon-to-come destruction of the Jewish state. Notable among these are The Third (Ha-shlishi) by Yishai Sarid (2015), Mud (Tit) by Dror Burstein (2016), and Nuntia (Kfor) by Shimon Adaf (2010). These texts draw on biblical or Rabbinic Hebrew, Jewish sources, and Jewish historical events (specifically the destruction of the First and Second Temples), making them just as much about a dystopian past as they are about a dystopian future. They are, in other words, dystopias of a circular temporality: emerging from and moving toward (Jewish) dystopia. This recent wave of Israeli dystopian narratives is primarily preoccupied with the past and future of Judaism, the Jewish people, and Israel as a secular-yet-Jewish state. Most interesting, perhaps, is the complete absence of Palestinians from these texts and from this dystopic imagination. Despite their obvious presence in Israel’s current reality, Palestinians have no role whatsoever in these texts. We are dealing therefore with exclusively Jewish dystopias. Read against some of the dystopian white South African writings under Apartheid, the complete absence of Palestinians in the recently published Israeli dystopias, appears particularly disheartening. Neither partner nor enemy, Palestinians do not even share in a future nightmare with Israeli Jews. We are left with the following questions: Does writing a Jewish Israeli dystopia require eliminating Palestinians from the narrative? Is it possible (how is it possible?) to think of a Jewish (Israeli) future, present, and past without thinking about a Palestinian past, present, and future? Following the example of South African dystopias, this article concludes that for such literary and ethical concerns to be critically explored, Israel must first be (officially) recognized as an apartheid regime.
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Shor, Francis. "Guns and Gender Roles in Dystopian Settings." Utopian Studies 33, no. 1 (March 1, 2022): 76–89. http://dx.doi.org/10.5325/utopianstudies.33.1.0076.
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ABSTRACT Dystopian settings are often dominated by fear and despair. As instruments and symbols of fear, guns, especially deployed in gendered ways, reinforce the dystopian setting. This article explores how guns and gender roles are represented in three dystopian novels (The Turner Diaries, The Road, and Parable of the Sower) and three dystopian films (Zardoz, The Terminator, and The Road). Examining how phallocentric aggression and toxic masculinity shape how guns are wielded by a number of characters in several of these films and novels, the article also suggests how critical dystopias offer insights into the conditions that create dystopia and impede alternative and better futures. By providing interpretive interventions into the constructions of the specific dystopian settings and the deployment of guns, the article offers new insights into the interface between gender, guns, and dystopia.
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Bakker, Barbara. "Egyptian Dystopias of the 21st Century." Journal of Arabic and Islamic Studies 21 (October 23, 2021): 79–94. http://dx.doi.org/10.5617/jais.9151.
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During the first two decades of the 21st century an increasing amount of narratives termed as Arabic dystopian fiction appeared on the Arabic literary scene, with a greater part authored by Egyptian writers. However, what characterises/marks a work as a dystopia? This paper investigates the dystopian nature of a selection of Egyptian literary works within the frame of the dystopian narrative tradition. The article begins by introducing the features of the traditional literary dystopias as they will be used in the analysis. It then gives a brief overview of the development of the genre in the Arabic literature. The discussion that follows highlights common elements and identifies specific themes in six Egyptian novels selected for the analysis, thereby highlighting differences and similarities between them and the traditional Western dystopias. The article calls for a categorisation of Arabic dystopian narrative that takes into consideration social, political, historical and cultural factors specific for the Arabic in general, and Egyptian in particular, literary field.
Keywords: Arabic literature, dystopia, dystopian literature, contemporary literature, Egypt, fiction, speculative fiction.
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Amelina, Anna V. "Theoretical Aspect of Studying the Literary Utopias and Dystopias of the First Decades of the 20th Century (on the Genre Identification Problem)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 77–91. http://dx.doi.org/10.15826/izv2.2023.25.4.061.
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This article examines the theoretical problems of studying literary utopias and dystopias. Since utopia and dystopia exist far beyond fiction, it is proposed to approach the analysis of a literary work as a particular case of the manifestation of a universal model of utopian/dystopian consciousness. First, in the texts under consideration, their elements should be identified with the support of research in social philosophy — the structure of utopian consciousness is outlined in the article, and the structure of dystopian consciousness is derived by the author of the article by analogy. If a work shows signs of utopian or dystopian consciousness, the next step in working with the text is to compare its genre features with the established genre invariant developed by literary critics. The article also presents the corresponding conditionally universal genre models of utopia and dystopia. This approach allows, firstly, to reasonably attribute the work to utopias and dystopias in the presence of signs of utopian or dystopian consciousness, secondly, to expand the body of texts that can be considered utopias or dystopias, and, finally, to fix individual genre features and correlate them with the corresponding invariant. During the formation of the genre of literary dystopia, i.e. in the first decades of the twentieth century, when the diversity of genre features in national literatures was extensive, this algorithm helps to fully trace the formation of the national invariant of the genre and establish its national specifics. At the same time, destroyed by the twentieth century, the genre of “classical utopia” is reborn and significantly modified under the influence of the novel form, so the identification of literary utopia becomes difficult — in this situation, the combination of philosophical and literary methods considered in the article also seems productive.
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Baccolini, Raffaella. "Recovering Hope in Darkness: The Role of Gender in Dystopian Narratives." Revista X 17, no. 4 (December 21, 2022): 1224. http://dx.doi.org/10.5380/rvx.v17i4.87033.
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My aim is to comment on dystopia based on an approach that has foregrounded, from its very beginning, issues of writing in their intersection with gender and the deconstruction of high and low culture. In the first part of the article, I carry out a reflection on the genre of dystopia, how it has changed, its constituent elements and their transformations, with a look in particular to its gender dimension, its formal and thematic features, as well as to its modes of articulating horizons of hope. In the second part, I discuss dystopian conventions and developments, drawing from Lyman Sargent’s (1994, 2022), my own work and together with Tom Moylan (2003, 2020), Ildney Cavalcanti’s (2000), Ruth Levitas’s (2007) contributions. I understand that dystopia remains fundamentally a term for a distinct literary genre, with its particular history, its formal characteristics, but also its evolving form. In the third part of the article, I analyze Leni Zumas’s Red Clocks, as an example of critical dystopias produced today. Finally, I conclude that in dark times, dystopian literature becomes even more important to us, providing both the tools and the necessary incentive that we need to critically interpret and transform our present.
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Vrbančić, Mario. "The Future of Dystopia." Politička misao 59, no. 4 (December 23, 2022): 31–48. http://dx.doi.org/10.20901/pm.59.4.02.
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Dystopia, just as utopia, has always been immersed in political visions: utopia as an ideal society and dystopia as its opposite: ‘bad place’ – a futuristic, usually very near future, an imagined universe in which oppressive social control rules. However, utopia and dystopia cannot be absolutely separated, there is a constant threat of replacing good place by bad place, very often leading to the conclusion that every utopia either leads to dystopia or already is dystopia. Today, it often seems that the dystopian future has already arrived, the reality itself evokes dystopian imagination: the global warming and the catastrophes, the monstrous underside of various technologies that would ultimately over-power us – humans. Furthermore, both utopia and dystopia are narratives about how to govern the commons. Whereas in the past the commons appeared in different utopian visions of good governing, today most often the commons fleshes out in disfigured forms of dystopian narratives. In this essay I analyze dystopian imagination as a traumatic symptom of the commons, expressed indifferent narratives of the crisis of capitalism (the Anthropocene, the global monsters, the uncanny weather, metaverse, neo- or techno-feudalism).
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Malyshev, V. B. "Semantics of absurdity on the metaphysical clock of dystopia: Russian intentions." Aspirantskiy Vestnik Povolzhiya 22, no. 3 (September 24, 2022): 64–67. http://dx.doi.org/10.55531/2072-2354.2022.22.3.64-67.
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The problem of absurdity is a multidimensional problem of philosophical anthropology, it raises the question of the postmodern man, about the existence of man in the world of dystopia. Through the semantics of absurdity, it becomes possible to consider the problems of aesthetic, epistemological, cultural properties in the context of posing a fundamental question about a person, about a person in principle.
Aim to correlate the semantics of absurdity and the concept of a metaphysical clock. Absurdity is regarded as the destruction of the ideal architectonics of the metaphysical clock of dystopia. The texts of dystopian novels by Evgeny Zamyatin, George Orwell, Aldous Huxley, Ray Bradbury are compared with texts of the Russian culture by Fedor Dostoevsky, Nikolay Gogol. The dystopias are considered as a symbolic "background" of human existence as a "ridiculous being". It is on the symbolic clock of dystopia, those ridiculous human qualities, which an imaginary society wants to abandon, seem to be the most valuable.
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Dubakov, Leonid, and Yuting Li. "The poem «Terkin in the Next World» by A. Tvardovsky and the story «Notes from the Spirit World» by Zhang Tian-yi: a dystopian mortal mirror of the political regime." Филология: научные исследования, no. 9 (September 2023): 1–9. http://dx.doi.org/10.7256/2454-0749.2023.9.40914.
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Russian and Chinese dystopias have similarities and differences in their genesis. The proximity of the dystopian texts of the two cultures is due to parallel historical and social processes, which are reflected in the plots of the corresponding works. The difference is manifested in the accents that both literature puts. In particular, we can say that there is no Chinese dystopia in the Western and Russian understanding: China sees dystopia more as fiction and satire. Despite this, Russian and Chinese dystopias have similar features. The purpose of this article is to analyze the ideological, plot, and motivational calls between A. Tvardovsky's poem "Terkin in the Next World" and Zhang Tian-yi's novel "Notes from the Spirit World". The scientific novelty of the research is seen in the fact that the author for the first time compares these works, designates genre signs of dystopia in both texts, formulates the specifics of the writer's assessment of the corresponding dystopian regime. The inhabitants of the afterlife, in which Terkin found himself, and the world of spirits are the image of contemporaries of Tvardovsky and Zhang Tian–yi, citizens of the state, which is metaphorically portrayed by writers as the reality of death. This infernal world turns out to be a mortal mirror for the political regime. In the case of "Terkin in the next world" it is an authoritarian regime, in the case of "Notes from the spirit world" it is a pseudo–liberal regime, and but in fact - oligarchic and nationalistic.
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Mutiah, Tuty, Dhefine Armelsa, Faqihar Risyan, and Agung Raharjo. "DISTOPIA KONDISI LIBERALISME DALAM FILM TIGA (Studi Semiotika Roland Barthes Tentang Distopia Liberalisme di Jakarta dalam Film Tiga)." Cakrawala - Jurnal Humaniora 19, no. 2 (September 6, 2019): 225–30. http://dx.doi.org/10.31294/jc.v19i2.5633.
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Dystopia in Film Tiga Liberalism Conditions (Roland Barthes Semiotics Studies about Dystopia on Liberalism in Jakarta in Film Tiga). This study goals is to determine the meaning of dystopian condition of Jakarta in the Film Tiga through the sign, signifier and signified. Three films is a film that adopts Liberal describe the depravity of Jakarta twenty years in the future in 2036. The method used semiotic analysis of Roland 2 Bartes.The object of research is the Film Tiga were directed by Anggy Umbara and classified through five objects dystopia condition of Jakarta, dystopian condition of the state apparatus, dystopia conditions of religion, dystopia technology, and dystopias journalism to find signs and markers and meaning at the level of the first and second, the denotation, connotations and myths.These results indicate that the situation of Jakarta transformed into an increasingly metropolis marked by the increasing number of high-rise buildings, as well as demonstrations marked depicted in 2015 until 2025. In 2026, the revolution ended and became State Liberalism. Changes in the State apparatus are characterized by the wish to dominate the world to create freedom in the face of the earth. One is to get rid of religion, by damaging the face of religion. State Officials do havoc with bring into conflict of the Religion. Changes religion marked by shifting religious values, is marked by religion becomes a thing wrong choice. The lack of freedom is depicted in this film, must be eradicated in order to function in a Liberal to be ideal. Technological changes are interpreted as changes in technology that convey information quickly, as well as the ability to hacked That meaning is characterized by technological devices that undergo changes such as, mobile phones, flash, televisions, doors, computers, laptops and so forth is now transformed into transparent. The changes meant the journalistic agenda setting media that is still happening characterized by lack of freedom of the press.
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Nankov, Nikita. "Of the Dystopian-Utopian and the Genre of Dystopia-Utopia." Colloquia Comparativa Litterarum 10 (2024): 22–44. http://dx.doi.org/10.60056/ccl.2024.10.22-44.
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The essay presents two ideas. First, the philosophical-aesthetic category of the dystopian-utopian is the basis of the literary-philosophical genre of dystopia-utopia in classical socio-political works. And second, it outlines some features of the genres dystopia-utopia and dystopia. The first idea is derived from European critical philosophy. The second is based on Plato, mostlyontheRepublic, a work that serves as a starting point for the analysis ofthedystopia-utopia and dystopia genres. Classical and more recent works, some of which have not been examined as dystopia-utopia, illustrate these theoretical ideas. The essay pays particular attention to the novels Resurrectionby Tolstoy and Bend Sinister by Nabokov.Keywords: dystopia; utopia; Plato’s Republic; Tosltoy’s Resurrection; Nabokov’s Bend Sinister by Nabokov.
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Shaheen, Muhammad Mahmood Ahmad, and Sohail Ahmad Saeed. "A Dystopian View of Postmodern Culture and Corporate Hegemony in Max Barry’s Jennifer Government." Global Regional Review IV, no. II (June 30, 2019): 106–14. http://dx.doi.org/10.31703/grr.2019(iv-ii).12.
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This paper offers a dystopian view of postmodern culture and corporate hegemony to foreground the effects of late capitalism on human and society. The paper interprets Max Barrys Jennifer Government in the light of Frederic Jameson and Tom Moylans theories of postmodern culture and dystopia, respectively. For Jameson, postmodern culture is characterized by commodification of society, general depthlessness, simulacrum, and death of subjectivity. Similarly, Moylan considers dystopia an index of the systemic ills of late capitalism. The corporate hegemony enacts a socioeconomic hegemonic enclosure and deprives humans of social and individual identity. Barrys novel presents a dystopic view of postmodern culture by foregrounding the commodification of society, corporate hegemony, and intensification of economic growth at the cost of social values, which prompt general depthlessness and social disintegration. The present study offers an explicit understanding of the ills of late capitalism by emphasizing the lived experience of social reality.
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Pak, Sunghee. "Dystopia in Disguise: Disintegrated Societies in Manjula Padmanabhan's Harvest and Lights Out." CEA Critic 85, no. 2 (July 2023): 153–70. http://dx.doi.org/10.1353/cea.2023.a901809.
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Abstract: The two worlds created by Padmanabhan have further significance in that they demonstrate how dystopia is embedded in reality, making it more relevant to the contemporary audience. Harvest sets itself up as a fictional dystopia while keeping enough reality for the contemporaries to recognize; Lights Out , on the contrary, begins as a realistic drawing room drama that initiates itself from a social incident, but reaches out to include dystopian qualities bad enough for the audience to want to deny its practicality. … Although by definition neither utopia nor dystopia can exist, Padmanabhan's depiction of dystopian societies that touch the quotidian life strengthens her commentary and critique on the existing world.
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MERKOULOVA, I. G. "IMAGES OF LITERARY DYSTOPIA FROM THE PERSPECTIVE OF LOTMAN’S SEMIOTICS OF CULTURE." Lomonosov Journal of Philology, no. 6, 2023 (December 17, 2023): 135–46. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-12.
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Dystopian images: myth or reality? How to understand the risks in the field of progress from the perspective of semiotics of culture? In the article we propose a semiotic approach to the ethics of the relationship between humans and artificial intelligence products in a literary context. The literary dystopia of the early 21st century is built on the principle of “feeling for the future” (Shklovsky) and at the same time “taking a closer look at similar events in the past” (Lotman). From the point of view of semiotics, a person in a dystopia is an image of a “thinking reed”: the ability to innovate is his evolutionary advantage. Human thought is comparable to geological force, and in this sense, Yuri Lotman’s approach continues the intellectual tradition of Vladimir Vernadsky, from the biosphere to the semiosphere. Modern dystopias by Kazuo Ishiguro show us a society of the future with the division of human groups into ‘reserve’ and ‘legitimate’. Clones and robots are proposed to be viewed not as soulless devices, but as works of art. Dystopian texts are the basis for thinking about the ethical behavior of a person of the future.
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Saund, Gurpreet S., and Kulandai Samy. "Eco-critical dystopia and anthropocentrism in Margaret Atwood’s Oryx and Crake." Scientific Temper 14, no. 03 (September 27, 2023): 741–46. http://dx.doi.org/10.58414/scientifictemper.2023.14.3.26.
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Geopolitical anxieties entangled and emerged with the anthropocene, creating a collective imaginary of critical eco-dystopia in a fictive way. The imaginings of apocalypse evade the entire human civilization with its natural habitat, deluging the corpses to be laid onto the death-stricken bed of the world. Drawings on sight provide an anthropocentrism-critical approach toward the textual interpretation in general. This research article decontextualizes critical dystopian fiction and predicts the reality of biotechnology advances in Oryx and Crake. It expands on the eco-critical dystopian world to the point that it defines its long-term viability through compelling human insights that exemplify destructive acts. For instance, cybernetics, artificial intelligence, virtual reality, species splicing, and genetic engineering deploy the critical dystopic vision and transform the planet into a dilapidated globe, which becomes an untowelled world
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Revutska ., S. K., and L. M. Barlit. "SIGNS OF DYSTOPIAS IN J. ORWELL'S "1984" AND O. HUXLEY'S "BRAVE NEW WORLD"." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 1 (28) (July 21, 2024): 51–57. http://dx.doi.org/10.33274/2079-4835-2024-28-1-51-57.
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Objective. The objective of the article is to outline the main features of dystopia in the works of J. Orwell "1984" and O. Huxley "Brave New World". Methods. The main scientific results are obtained by means of a component analysis of the novels "Brave New World" by O. Huxley and "1984" by J. Orwell. The main attention is paid to the common dominant features of dystopias. Results. In recent years the phenomenon of dystopia has become increasingly relevant not only in literary studies, but in other humanities and art as well. The dystopian novels "Brave New World" and "1984" are repeatedly mentioned in studies of the dystopian genre as its most famous examples in literature. Dystopian features can be clearly traced in both novels. Thus, they share the recreation of a totalitarian regime and the use of propaganda and manipulation as the main means of controlling society. The ways of achieving the goal of absolute control are different: in "1984" the authorities choose pain and suffering as the main instrument of deterrence and control, while in "Brave New World" they choose to satisfy basic needs, which are also determined by the controllers. Both works present a clear social system, which can also be attributed to the common features of dystopias. In Orwell's work the classification of society is based on proximity to the main ruling body – the Party, and citizens are divided into: members of the Inner Party, the Outer Party and the Proles. There were 5 types of citizens in the "Brave New World": Alpha, Beta – upper class, Gamma – middle class, Delta, Epsilon – lower class. Each class performed its own function in society, had a uniform and a certain set of skills for survival. The destruction of individuality and the devaluation of family and universal values are presented in different ways in the novels, but what is common is that both novels emphasise that too much concentration of power and control over citizens can lead to the destruction of basic human values and the destruction of freedom. References Borshchyk, (2023). Antyutopiia: osoblyvosti zhanrovoi modeli [Dystopia: features of the genre model]. Mahisterski studii. Almanakh [Master's studies. Almanac.], Issue 23. Kherson – Ivano- Frankivsk, KhDU Publ., pp. 23‒26. Dmytrenko, N. V. (2016). Mizh totalitarnym peklom ta spozhyvatskym raiem. Roman- antyutopiia Oldosa Khaksli "Prekrasnyi novyi svit" [Between totalitarian hell and consumer heaven. Aldous Huxley's dystopian novel "Brave New World"]. Teoretychna i dydaktychna Seriia: Filolohiia (literaturoznavstvo, movoznavstvo) [Theoretical and didactic philology. Series: Philology (literature, linguistics)], Issue 23, pp. 47‒56. Available at: http://nbuv.gov.ua/UJRN/tdff_2016_23_8. Ivanova, O. (2020). Zhanrovi osoblyvosti antyutopii: teoretychnyi aspekt [Genre features of dystopia: theoretical aspect]. Zakarpatski filolohichni studii [Transcarpathian Philological Studies], Issue 13, Vol. 3, pp. 77‒81. Available at: http://zfs- journal.uzhnu.uz.ua/archive/13/part_3/16.pdf Kulikova, (2017). Termin antyutopiia v konteksti literaturnoho protsesu XX stolittia [The term dystopia in the context of the literary process of the 20th century]. Aktualni problemy literaturoznavchoi terminolohii : naukovyi zbirnyk [Actual problems of literary terminology: scientific collection], Issue 2. Rivne, O. Zen Publ., pp. 198–201. Kovaliv, Yu. I. Ed. (2007). Literaturoznavcha entsyklopediia : u 2 t. [Literary encyclopedia: in 2 volumes]. Kyiv, Akademiia Publ., Vol. 1, 608 p. Hromiak, R. , Kovaliv, Yu. I. & Teremko, V. I. Ed. (2007). Literaturoznavchyi slovnyk- dovidnyk [Literary dictionary-reference]. Kyiv, Akademiia Publ., 2007. 752 p. Orwell, J. (2021). 1984. / trans. By V. Holysheva. Kyiv, Force Ukraina Publ., 318 p. Parkhomenko, I. (2011). Antyutopiia: interpretatsiia v suchasnomu literaturoznavstvi [Dystopia: interpretation in modern literature]. Visnyk Kharkivskoho natsionalnoho universytetu im. V. N. Karazina. Seriia: Filolohiia [Bulletin of Karazin Kharkiv National University. Series: Philology.], No. 963, Issue 62, pp. 217–222. Huxley, (1994). Chudovyi novyi svit [The Wonderful New World] / trans. By S. Marenko. Kyiv, Vsesvit Publ., 125 p. Hemmingsen, A. (2015). Dystopian Literature, Emotion and Utopian Longing: Master`s thesis. Kansas, University of Kansas Publ., 60 p.
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AKKOYUN, Tülay. "EKOLOJİK TEHLİKE ÇIĞLIĞI: ERNEST CALLENBACH’IN ‘EKOTOPYA’ ve OYA BAYDAR’IN ‘KÖPEKLİ ÇOCUKLAR GECESİ’." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 96–104. http://dx.doi.org/10.31567/ssd.703.
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The first known Ecological Utopia novel was written by Ernest Callenbach in 1975 in America. Ecological Dystopia, on the other hand, has already taken its place in many dystopian works, even if it had not been named yet, as dystopia takes the future as its subject. In dystopian fiction, since the problems that are and can be experienced in a country or in the world are discussed, the dystopian writer expresses the negativities that may be experienced in the future based on his/her own geography. Ecological dystopia writers make predictions about how environmental pollution, forest fires, natural disasters such as earthquakes, floods and erosion will affect humanity and the universe in the future. Since there is no other planet suitable for human life, the authors' predictions about the need to protect the planet we live in can be described as a cry of enlightenment. In this study, we will examine comparatively two works that deal with the desired ideal world and a world that faces the danger of extinction as a result of conscious or unconscious harm, within the scope of Sociological Criticism. Hoping that every dystopia can evolve into a utopia; even though Ernest Callenbach's "Ecotopia" and Oya Baydar's "The Night of Children with Dogs" seem to opposite each other, we will try to demonstrate with examples that both works carry the same ecological danger’s outcry. Keywords: utopia, dystopia, ecological outcry.
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Ginszt, Katarzyna. "Fincher’s 'Fight Club' as an example of a critical dystopia." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 67–84. http://dx.doi.org/10.26881/bp.2018.3.03.
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This article investigates David Fincher’s film Fight Club as a critical dystopian narrative. The first part of the article provides the definition of critical dystopia as well as it presents characteristic features of the subgenre. It also sets forward the difference between classical and critical dystopias. The following sections are case studies in which different elements of the film in the context of the subgenre are examined. They focus on the construction of a dystopian society and the negative influence of consumerism on the protagonist and therefore on other people. Moreover, this paper attempts to demonstrate how the overall pessimistic tendency of the narrative is realised. Finally, the protagonist’s actions as well as the aftermath of these actions are described and analysed. The final part of the article focuses on the significance of the last scene which introduces a utopian impulse into the narrative.
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Yelmen, Fevziye. "Distopies in today’s ceramic art: The example of EFE Turkel’s ‘Magna mater series ’." Global Journal of Arts Education 11, no. 1 (February 27, 2021): 117–30. http://dx.doi.org/10.18844/gjae.v11i1.5729.
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In this study, ceramic artist EFE Turkel’s ‘Magna Mater’ series will be analysed using the phenomenological method in the context of the concept of dystopia. Whether there is a spatial belonging to utopia is a phenomenon that has been debated by philosophers. In other words, the question of whether utopia is a place to live is part of these discussions. On the other hand, with utopia, there is also the concept of dystopia, which is handled with an almost dialectical approach, spatialised as an inhabitable and impossible place. The concept of dystopia, used by John Stuart Mill in 1868, was encountered especially in literary works. When the concepts of dystopia and utopia are evaluated in the context of life experiences, it can be said that the starting point of the concept of dystopia is based on a previously experienced life practice. While utopia is the reciprocal of idealisation, dystopia is, on the contrary, built on the imperfect. Dystopia as an artistic phenomenon that takes place within the existentialism of mankind. It represents a place that does not exist in the mind of the viewer, but on the other hand, this non-existent place is also another not yet experienced place of an experienced place. Since dystopia emerges as a contradiction to the concept of utopia, the first examples are critical, and in the later examples the introversion and unhappiness that the artists live in their production and inner world are dominant. These thoughts have been featured in novels such as Fahrenheit 451 and Brave New World. In addition, the dystopic city image created in the movie Metropolis and some scenes depicted in the 1984 novel are examples of this. Edvard Munch’s The Scream, Henry Moore’s sculptures and Benjamin Peret’s Automata photographs are among the known examples. The works of artists such as Kannar Lichtenberger, Hoffmann Ruan and Alison Ruttan can be shown as examples of dystopic approaches in today’s ceramic art.
Keywords: Utopia, dystopia, ceramic, Art, EFE Turkel.
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Andreichykova, Olena A. "THE MOTIVE OF CATASTROPHISM IN THE DYSTOPIAN GENRE POETICS: KAZUO ISHIGURO AND YAROSLAV MELNIK." Alfred Nobel University Journal of Philology 2, no. 24 (December 20, 2022): 29–37. http://dx.doi.org/10.32342/2523-4463-2022-2-24-3.
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The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.
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Popova, S., and V. Bilokon. "DYSTOPIAN VISION OF 2052 IN HENLEY’S “SIGNATURE”." Studia Philologica 2, no. 17 (2021): 86–92. http://dx.doi.org/10.28925/2311-2425.2021.1711.
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Modern drama tends to catch up with the representation of the dystopian alternative worlds much like the contemporary mass culture. Sci-fi and dystopian productions become popular onstage because the medical and technological breakthroughs occur so rapidly in our present-day life that the humanity fails to reflect them properly. There are the following main features pertaining to science fiction in drama, namely dystopian play: fantastical concepts in tune with the modern scientific theory; the illusion of authenticity via scientific methodology; creation of a fictional world on the basis of the factors and tendencies of wide public importance. The aim of this article is to study the generic features of sci-fi subgenre of dystopia on the material of Henley’s drama “Signature” (1990). The play written by the US woman dramatist introduces the world deprived of meaningful lives for its characters whose fake values drive them to grave consequences (death, loss of the beloved). This text for staging warns the audience about the devaluation of human life in favor of elusive success. Henley’s 2052 Hollywood is a dystopic space for rather emotionless characters (the T-Thorp brothers, L-Tip, the Reader), who understand their failures and losses when it is too late. The only exception is William, selfless and unafraid of predicaments. The fundamental for the Western civilization phenomenon of love is distorted and disregarded in favor of immediate satisfaction and addiction to fame. Like her predecessors in sci-fi Henley predicts a mass human alienation in not so distant future. Yet the open end of Boswell’s story somewhat decreases the horror of dystopia – there is a remote chance that after anagnorisis the protagonist will find his beloved and make peace with her even though for a very short time. Henley’s dystopia constructs the ambivalent vision of the future, charged with questions of cryonics, cloning, global digitalization, omnipresent euthanasia, environmentalism and feminism.
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Prudius, Irina G. "Features of Dystopia in P. Christen and S. Verdier’s Graphic Novel Orwell." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 136–51. http://dx.doi.org/10.15826/izv2.2023.25.4.065.
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This article analyses the graphic novel Orwell (2019) by French authors Pierre Christin and Sebastian Verdier from the point of view of its genre affiliation, i.e. a dystopia. The author aims to reveal the dystopian characteristics of the texts of this genre in the twentieth century and their transformation in the texts of the early twenty-first century. The author of the article presents an analysis of the graphic novel which examines the history, life, and conditionality of the life position of the writer George Orwell in relation to the reality of his most famous novel, 1984 (1948). In accordance with the aim, the author uses the analysis and synthesis of theoretical information regarding dystopia as a genre, as well as structural-typological and comparative methods as research methods. As a result of the analysis, the author reveals the following characteristics of dystopia in the biographical graphic novel about the life of the English writer: the image of the anti-humanistic society which Orwell lived in, his loneliness and detachment as a confrontation with the imperfect surrounding world filled with fear and despair, the writer’s fight with a totalitarian world order, and the opposition of violence and love. A distinctive characteristic of the graphic novel was the combination of Orwell’s image with the images of rebels from his dystopias which allowed the authors, P. Christen and S. Verdier, to present the English writer as a person struggling with an unacceptable world order with the help of literature. The authors of the early twenty-first century consider Orwell a prophetic figure and bring the writer to the foreground of their graphic novel, thus emphasising the continuity of his views in modern literature which also often shows dystopian features that characterise the instability of the present which we exist in.
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Andreichykova, O. A. "PROBLEMS AND CLASSIFICATION OF MODERN DYSTOPIA (Ukrainian and World Literature)." Writings in Romance-Germanic Philology, no. 2(51) (December 19, 2023): 4–19. http://dx.doi.org/10.18524/2307-4604.2023.2(51).296816.
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The article examines the specific features of modern dystopia, the themes and issues of the genre. The object of research is modern dystopian novels of the World and Ukrainian literature. In contrast to the 20th century, the concepts of critical, feminist, digital, national (in the context of multiculturalism) dystopia were included in the literary circulation of dystopia researchers of the 21st century. Specific groups and their genre subspecies are distinguished. The article also notes that the relevance of dystopia is primarily related to socio-cultural and geopolitical catastrophes and destructive systems: wars, harsh government, tyrannical empires, authoritarianism and totalitarianism — all this breaks the utopian consciousness. And although the dream, consonant with utopia, is organic for man, as it turned out, it is unacceptable for the modern world order.
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Buividavičiūtė, Lina. "Elements of Dystopian Fiction in the Modern Lithuanian Prose." Respectus Philologicus 28, no. 33A (October 25, 2015): 5. http://dx.doi.org/10.15388/respectus.2015.28.33a.5.
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The theoretical problems and practical analysis of utopia and its subgenre dystopia are widely known in the global cultural discourse. Nevertheless, these analyses still remains almost terra incognita in the studies of Lithuanian prose. The aim of this article is to analyse and compare the ambivalent elements in these novels: Vilniaus pokeris (Vilnius Poker) by R. Gavelis, Užkeiktas miestas (The Town under the Spell) by R. Lankauskas, and Anapus rytojaus (Beyond Tomorrow) by J. Jankus. This article is based on the hermeneutical methodology and the context of existentialism. The theoretical part of the article “Dystopian World” describes the main sources, features, and polemical issues of genre. The first practical part “The Social-Historical Subordinated Dystopia in Lithuanian Literature” analyses the concrete historical and cultural features of the dystopian genre. The features of ontological-existential dystopia are described in the second practical part of the paper.
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Al-Mamori, Yasir Khudeir Obid. "Dystopia, post-apocalypse and cinematic reading." Философия и культура, no. 4 (April 2022): 1–8. http://dx.doi.org/10.7256/2454-0757.2022.4.37808.
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The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end.
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Pennell, Beverley. "Allan Baillie’s Secrets of Walden Rising as Critical Dystopia: Problematising National Mythologies." Papers: Explorations into Children's Literature 15, no. 2 (July 1, 2015): 31–39. http://dx.doi.org/10.21153/pecl2005vol15no2art1248.
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In lieu of abstract, here is the first paragraph of the article: Allan Baillie’s Secrets of Walden Rising (1996) is a novel about ‘the politics of history’ (Fernandez 2001, p. 42) and an examination of the text’s significant challenges to the dominant historical stories of its time seems appropriate as Australia’s ‘history wars’ continue. In this paper I examine the critical dystopian strategies employed in Secrets of Walden Rising to subvert some of the utopian national mythologies of white settler Australia. Baccolini (2003 p.115) argues that critical dystopias tend to be ‘immediately rooted in history’ and that the critique they carry out exposes the revisionist impulse of historical narratives and the erasures they inevitably sanction. In Secrets of Walden Rising the control of national narratives and its erasures are represented as the underside of utopian national mythologies. In this text, the dystopian discourse opposes the pursuit of agricultural profits where this requires a disregard for the sustainability of the natural landscape, critiquing the pursuit of profit when it depends upon violence and social hierarchies for its continuation. The critical dystopian conventions of the novel set up a dialogue between past and present society, between the contemporary dystopian experience of a despoiled rural Australia and the older national mythologies that construct utopian versions of ‘Australia’ as either a pastoral idyll, or as an exciting frontier gold-mining town where fortunes are made, or as a working man’s paradise. Secrets of Walden Rising is apocryphal in its closure, offering a caution for the present time with regard to environmental sustainability in the face of a society where economic imperatives remain central to its raison d’être. Baccolini and Moylan (2003, p.7) argue that traditional dystopias ‘maintain utopian hope outside their pages, if at all; for it is only if we consider dystopia as a warning that we as readers can hope to escape its pessimistic future’. However in the critical dystopia, Baccolini and Moylan (2003, p.7) argue that hope is offered within the text. Secrets of Walden Rising is bleak in closure and the cognitive engagement outside the reading of the text is part of its pleasure and pain. However insofar as the novel’s closure invites readers to note the warning signs seen by the main protagonist, Brendan, the novel offers a ‘horizon of hope’ (Baccolini and Moylan 2003, p.6) within the text.
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Resheq, Reem. "Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia." International Journal of Arabic-English Studies 19, no. 1 (January 1, 2019): 175–94. http://dx.doi.org/10.33806/ijaes2000.19.1.10.
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This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of meaning in a process of “différance” which entails a potential for change. This proposition is clarified through the close reading of Ahmed Khaled Towfik’s Utopia (2011; first published in Arabic in 2008). The novel is discussed as a critical dystopian text in which Gaber, the subject in the “threshold,” opposes the totalitarian regime of Utopia in his “local narrative.”.
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Poleganov, Vladimir. "Variations on the Dystopian: William James, Ursula Le Guin, and Bernard Wolfe." Colloquia Comparativa Litterarum 10 (2024): 45–54. http://dx.doi.org/10.60056/ccl.2024.10.45-54.
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For over a centurynow, dystopian visions of the future have been an integral part of the strategies through which literature reacts to changes in the world. However, dystopia is not always an entirely new world. Sometimes, it is an element in a world born from a utopian impulse. The article explores the variations of the dystopianin two such worlds influenced by the works of William James: Bernard Wolfe's Limboand in Ursula K. Le Guin's The Ones Who Walk Away From Omelas. The analysis adopts the concept of dystopia as utopia’s shadow, and traces the moments when the world, the body, and the language of the Utopian begin to waver and transform into the voice of the Dystopian.
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Su, Ping, Mingwen Xiao, and Xianlong Zhu. "Rethinking utopian and dystopian imagination in island literature and culture." Island Studies Journal 17, no. 2 (November 2022): 3–12. http://dx.doi.org/10.24043/isj.392.
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The trope of the utopian island occurs in a variety of cultural traditions. For example, in the West, the literary imagination of ideal islandness made manifest an imperialist rhetoric and contributed to European exploration and colonization. The tension between utopia and dystopia is an intrinsic feature of Western utopian island imaginations, which were complicit in colonial exploitation and oppression. Western models of island utopias and dystopias have been imposed on non-Western cultures, whose scholars have engaged in decolonial practices by adapting, reshaping, and transforming these conceptualizations. This special section, demonstrating the inherent intercultural qualities of utopian and dystopian island visions from diverse cultural traditions, contributes to decolonization efforts in island studies.
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Stepanova, Anna A., and Inna I. Zhukovych. "“THE HANDMAID’S TALE” BY MARGARET ATWOOD AS A POSTMODERN NOVEL: DYSTOPIAN GENRE TRANSGRESSION IN POSTMODERN ERA." Alfred Nobel University Journal of Philology 1, no. 27 (June 3, 2024): 142–64. http://dx.doi.org/10.32342/2523-4463-2024-1-27-10.
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Margaret Atwood’s novel “The Handmaid’s Tale” seems to have been studied comprehensively and fundamentally. Aspects of the dystopian genre, its feminist and anti-religious orientation, and the novel’s connection with philosophical concepts of the 20th century have been studied in depth. In the poetics of the novel, researchers’ interest in the problems of intertextuality, the specifics of composition, etc., has never ceased. However, despite the variety of problems covered in these studies, in our opinion, a fundamental question about the significance of Margaret Atwood’s novel for the further development of the tradition of the dystopian genre has remained on the periphery of scholarly attention. Meanwhile, “The Handmaid’s Tale” can be regarded as a programmatic work that clearly identifies and elaborates the key genre principles of the postmodern dystopian novel, which have not yet been substantiated. Modern studies of the features of postmodern dystopia based on the material of various works of the 1990-2000s, as well as in modern findings, capture exactly those genre strategies that were embedded in M. Atwood’s novel. At the same time, researchers focus on the transformation of the mainly predominant aspects of dystopia in the era of postmodernism. Meanwhile, the changes that dystopia underwent in the last third of the 20th century are associated with the formation of the aesthetics of the genre of the postmodern novel, as evidenced by the publication of the novel “The Handmaid’s Tale”. In this regard, we consider it appropriate to study M. Atwood’s novel as a postmodern dystopian novel in the relationship between the content features of dystopia and the genre of the postmodern novel. The work aims to investigate the dystopian narrative presented in “The Handmaid’s Tale” in the context of the poetics of the postmodern novel genre. Achieving the stated goal involves the use of historicalliterary, philosophical-aesthetic, and hermeneutical research methods. In the context of the postmodern dystopian paradigm, the genre of dystopia is transformed significantly. Changes in the substantive aspects of the genre are associated with a reduction in the gap between dystopian and real time, the affirmation of a relatively optimistic tone, the lability of the dystopian world (which predetermines the conditionally metaphorical nature of the chronotope, the amorphousness of spatial and discrete time boundaries), and a shift in emphasis to the inner world of the character. The increased degree of anthropocentrism, which is characteristic of postmodern dystopia, determines the change in the nature of the protagonist’s rebellion against the totalitarian regime – the focus of social rebellion shifts to personal existential (the struggle to preserve one’s own identity), where it is not the result that is important, but its philosophical content. At the same time, dystopia also absorbs the features of the postmodern novel form and postmodern narrative strategy, mastering the techniques of intertextuality and rethinking the traditions of the past, irony and parody, playing with time and the author’s game with the reader. Moreover, the function of the author’s game strategy is not only to make the reader a co-author of the text but also to encourage him to make multiple interpretations. The multifaceted nature of the game draws the reader into the action and forces one to reflect on the windows of opportunity opening up in modern civilization, that is, to perceive the story of Gilead as more than just exciting storytelling. The game mode reveals the author’s ideological and content-based storytelling strategy – through intertext (as a combination of multi-level chronotopes and cultural texts), on the one hand, and through involvement in the experiences of Offred, on the other, to encourage/force the reader to experience the entire history of Christian civilization, presented in the dystopian heroine’s narrative.
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Xu, Yuan, and Yanfang Song. "THE DREAD OF AI REPLACEMENT OF HUMANS REPRESENTED IN MACHINES LIKE ME." Journal of Social Sciences and Humanities 61, no. 2 (December 31, 2022): 1–15. http://dx.doi.org/10.46568/jssh.v61i2.630.
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The rapid progress of AI technology prompts British novelists to speculate what a technologically advanced Britain will be like: a utopia or a dystopia? Or somewhere in between? Ian McEwan shows his concern over these questions in Machines Like Me (2019). It is suggested that this novel mainly reveals people’s technophobia and presents a techno-dystopian world, for which many people are ill-prepared. Technophobia and techno-dystopia represented in the selected novel echo the debates among the Neo-Luddites, especially the thoughts of Stephen L. Talbott. From the theoretical angle of Neo-Luddism, the present study aims to explore people’s multifaceted technophobia and the features of techno-dystopia in Machines Like Me, so as to disclose people’s values behind their attitudes to technological advancements. Technophobia as depicted in this novel basically includes people’s dread of AI replacement of humans. Moreover, the world presented in the novel is characteristic of a techno-dystopia: the technological replacement of humans results in people’s obsolete status and poses security risks to human beings. The objective of the research is to arouse people’s awareness about adverse technological impacts and provide some insights into how to handle the tension between technophobia and technological development in the real world. The study concluded that to some degree, such technophobia and techno-dystopia disillusion technophiles who fervently believe that advances in technology will bring about a utopia or at least help to fulfill a utopian ideal. Serving as a warning alarm for the dystopian future, this novel counters cyber-hype in contemporary society and reflects the real world of profit-fueled technology.
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Terentowicz-Fotyga, Urszula. "Defining the dystopian chronotope: Space, time and genre in George Orwell’s 'Nineteen Eighty-Four'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 9–39. http://dx.doi.org/10.26881/bp.2018.3.01.
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The paper examines George Orwell’s Nineteen Eighty-Four as a canonical example of the dystopian novel in an attempt to define the principal features of the dystopian chronotope. Following Mikhail Bakhtin, it treats the chronotope as the structural pivot of the narrative, which integrates and determines other aspects of the text. Dystopia, the paper argues, is a particularly appropriate genre to consider the structural role of the chronotope for two reasons. Firstly, due to utopianism’s special relation with space and secondly, due to the structural importance of world-building in the expression of dystopia’s philosophical, political and social ideas. The paper identifies the principal features of dystopian spatiality, among which crucial are the oppositions between the individual and the state, the mind and the body, the high and the low, the central and the peripheral, the past and the present, the city and the natural world, false and true signs.
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Yosef-Paz, Netta Bar. "Hebrew Dystopias." Israel Studies Review 33, no. 2 (September 1, 2018): 66–84. http://dx.doi.org/10.3167/isr.2018.330205.
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This article examines contemporary Hebrew dystopic novels in which ecological issues play a critical role, reflecting an increasing preoccupation of Israeli culture and society with the environment. The literary turn to dystopia is not new, but whereas Israeli dystopias published in the 1980s–1990s focused mainly on military apocalyptic visions, current novels combine these national anxieties with ecological dangers, following present-day trends in American literature and cinema. These contemporary dystopias either conjoin a national crises with an ecological disaster as the source of the catastrophe or represent environmental recklessness as evidence of moral corruption, linking ecological and social injustice to the emergence of a Jewish theocracy. Offering an ecocritical reading of these novels, the article pinpoints the American cultural influence on the narratives. This thematic shift in Hebrew fiction, I argue, reflects a rising environmental awareness and positions literature as a major arena in which these issues are raised.
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Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.
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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story
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Suhr, H. Cecilia. "Designing Audience Participation and Gamification in Intermedia Performance." International Journal of Art, Culture, Design, and Technology 12, no. 1 (January 20, 2023): 1–13. http://dx.doi.org/10.4018/ijacdt.316966.
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“Humanity: From Survival to Revival” (“Dystopia to Utopia”) is a participatory survival game and audiovisual performance work that depicts the transformation of the dystopian state of humanity to utopianism in both the visual and sonic realms. Audience members are invited to participate in humanity's interactive survival games and to contribute their photographic facial outlines as visual content for the performance. This paper explores the theoretical framework behind designing audience participation and interaction by reflecting on the notion of dystopia as related to the COVID-19 pandemic, while also reflecting on this event's outcomes and challenges. In doing so, this study showcases the process of visual transformation, depicting the transition from dystopian to utopian paradigms via audience participation and musical performance.
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Harly, Natasha, and Liem Satya Limanta. "The Paradoxical World of Psycho-Pass Anime Series." K@ta Kita 9, no. 2 (October 23, 2021): 158–66. http://dx.doi.org/10.9744/katakita.9.2.158-166.
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Psycho-Pass is one of the most well-known examples of dystopian anime. The story is set in 22nd century Japan, where the country is ruled by the Sibyl System. The world is portrayed to be an ideal world that is seemingly crime-free, yet the world also contained many problems that offset how ideal it seemed. In this paper, we are concerned about how Psycho-Pass can be categorized as a paradoxical world. Therefore, we aim to show the ways that the world of Psycho-Pass is indeed paradoxical by using utopia and dystopia theories. Through our analysis, we found that elements of both utopia and dystopia are present in Psycho-Pass. The world of Psycho-Pass is paradoxical in that it is ideal and faulty at the same time.Keywords: anime, paradoxical, utopia, dystopia.
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Omar, Abdulfattah, and Maha Alanazi. "From Gilead to Syria: A Comparative Study of Patriarchal Oppression and Resistance in Margaret Atwood's “The Handmaid's Tale” and Nagham Haider’s “Winter Festivals”." World Journal of English Language 13, no. 7 (August 16, 2023): 376. http://dx.doi.org/10.5430/wjel.v13n7p376.
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This paper examines the influence of Margaret Atwood's concept of feminist dystopia on Nagham Haider's Winter Festivals. The main objective of the research is to explore how Haider's literary works, specifically her Winter Festivals, reflect Atwood's feminist dystopian vision. The study adopts Atwood’s approach of feminist dystopia as represented in The Handmaid's Tale to explore themes of gender oppression, objection of the female body, government control, and patriarchal power structures. In her novel, Haider draws heavily from Atwood's feminist dystopian vision, particularly in her exploration of the intersectional oppression faced by the women during the Syrian Civil War. Haider's novel portrays a society in which women are oppressed and denied agency and autonomy, which is a central concept in Margaret Atwood's feminist dystopia. It can be concluded that Nagham Hayder's Winter Festivals echoes Margaret Atwood's feminist dystopian theory in several ways. Both authors present patriarchal societies where women are oppressed and controlled, with women's bodies commodified and controlled by men. Both novels showcase governments exerting complete control over citizens through surveillance and propaganda. Additionally, they emphasize the significance of women's resistance and solidarity in the face of oppression. Winter Festivals' portrayal of a revolution against the Syrian regime and The Handmaid's Tale's depiction of Handmaid resistance show Hayder's apparent influence from Atwood's feminist dystopian ideas in her writing. Finally, this research contributes to the growing body of scholarship on feminist dystopian literature, shedding light on the global reach and impact of Atwood's vision, as well as the diverse ways in which feminist writers around the world adapt and re-imagine this powerful genre to reflect their unique experiences and perspectives.
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Stahr, Radka, and Anne Marlene Hastenplug. "With dark humor about a dark future." Folia Scandinavica Posnaniensia 29, no. 1 (December 1, 2020): 19–29. http://dx.doi.org/10.2478/fsp-2020-0005.
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Abstract This article analyses the relationship between black humor and dystopian literature. In dystopia, humor can appear on the surface as language or situational comics, but there is also a deeper link between these two literary phenomena: they confront the reader with an unexpected notion in order to bring him to a critical reflection. There are many dystopias in the Nordic literature that use comic elements. Three of them are discussed in this article: Axel Jensens Epp (1965), Lena Anderssons Duck City (2006) and Kaspar Colling Nielsens Den danske borgerkrig 2018–24 (2013). The analysis shows that classic black humor is enriched with other tragicomic, satirical or surrealistic elements and significantly contributes to the critical tone of the text. In all cases humor is used for the same purpose, and this is a critique of superior power (the so-called superiority theory). Therefore, humor can be considered not only as a stylistic means, but also as a principle of construction of the dystopian works.
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Abdelbaky, Ashraf. "A Perfect World or an Oppressive World: A Critical Study of Utopia and Dystopia as Subgenres of Science Fiction." SMART MOVES JOURNAL IJELLH 4, no. 3 (March 28, 2016): 17. http://dx.doi.org/10.24113/ijellh.v4i3.1201.
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In this article, I investigates the concept of utopia and dystopia in literature since the time of Plato and Thomas More and how it became a significant subgenre of science fiction. I present the kinds of utopia and its fundamental purposes as well as the different explanations for the term utopia and dystopia by numerous critics. I stress the function of science fiction as a literary tool to depict the grim picture and the weaknesses of current societies, dystopias, and to provide a warning for the future of these societies by presenting alternative peaceful societies; utopias. Therefore, I seek to investigate how utopian writings play a central role in uncovering the shortcomings of societies and presenting a formative criticism towards them. I also discuss how utopia and dystopia give women the chance to present their feminist demands using science fiction.
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Di Minico, Elisabetta. "Entre el malson i la realitat. Reflexions distòpiques sobre la societat contemporània." Quaderns de Filosofia 7, no. 2 (February 9, 2021): 143. http://dx.doi.org/10.7203/qfia.7.2.18804.
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Between Nightmare and Reality: Dystopian Reflections on the Contemporary Society
Resum: Per mitjà de la narració de fantasia i de ciència ficció, la utopia i la distopia promouen una anàlisi crítica de la realitat. En particular, la distopia ens alerta de les possibles conseqüències catastròfiques derivades de problemes sociopolítics existents i contribueix a la reflexió constructiva sobre les amenaces antidemocràtiques que posen en perill la nostra societat. Aquest article examina la representació de l’autoritat, la coacció, la propaganda, la plasmació, l’espai i el llenguatge en distopies sociopolítiques seleccionades i reconegudes, com Nosaltres de Zamiatin, Un món feliç de Huxley, La nit de l’esvàstica de Burdekin, 1984 d’Orwell i El conte de la serventa de Atwood, i compara aquestes ficcions amb esdeveniments històrics i contemporanis, amb l'esperança d’il·luminar la manera real en què el poder opera sobre els cossos i les ments en sistemes tant repressius com liberals.
Abstract: Through fantasy and science fiction storytelling, utopia and dystopia promote a critical analysis of reality. In particular, dystopia warns against the possible nightmarish consequences of factual socio-political issues, as well as it fosters a constructive and thought-provoking reflection on the undemocratic threats that jeopardize our society. This article examines the representation of authority, coercion, propaganda, embodiment, space, and language in selected and renowned socio-political dystopias, including Zamyatin’s We, Huxley’s Brave New World, Burdekin’s Swastika Night, Orwell’s 1984, and Atwood’s The Handmaid’s Tale, and it subsequently compares these fictional depictions with historical and contemporary events, hoping to shed light on the real way that power operates on bodies and minds both in repressive and liberal systems.
Paraules clau: distopia, utopia, control, violència, realització
Keywords: Dystopia, Utopia, Control, Violence, Embodiment
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Taşkale, Ali Riza. "Art of Dystopia: Why Edward Hopper Paintings Haunt the Present Moment." Utopian Studies 34, no. 2 (July 2023): 350–58. http://dx.doi.org/10.5325/utopianstudies.34.2.0350.
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ABSTRACT The concept of “boring dystopia,” a term coined by Mark Fisher, describes the banal and mildly coercive signs that are prevalent in contemporary neoliberal society. It is characterized by a pervasive sense of boredom, banality, and total alienation, which arises from the depletion of social connections caused by free-market fundamentalism and consumer culture. For the author, Edward Hopper’s paintings embody this sense of dystopia, as they depict deserted cityscapes and isolated figures, creating a vision of a society where human connection and interaction have broken down. The COVID-19 pandemic response has further highlighted the erosion of empathy and compassion under neoliberal capitalism, making Fisher’s call for collective action and the creation of new forms of community and solidarity even more urgent. Edward Hopper’s haunting art reminds us that we are already living in a dystopia, and that it is crucial to confront this dystopian reality and imagine new possibilities for the future.
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Datta, Souvik, and Ankita Dutta. "Psychoanalytic Deconstruction of Dystopian Personae: A Comprehensive Study of Brave New World, 1984, Fahrenheit 451 and The Handmaid’s Tale." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 182–88. http://dx.doi.org/10.22161/ijels.81.21.
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“I think dystopian futures are also a reflection of current fears.” – Lauren Oliver The more we progress towards a better dawn, the more we find ourselves involved in a dystopian societal bond. Far removed from Thomas Moore and his concept of utopia, we have drowned deep into the abyss of never ending chaos, the chaos of erroneous distortions that mess up with the wits and generate robots. All dystopian fictions deal with the same concept, but each become more menacing than the former. This feature that emerged as a by product of post-colonialism, has stormed the world in general and the literary sphere in particular, striking alarming thoughts. “But within every dystopia there’s a little utopia.” – Margaret Atwood. We, readers, have to understand these minacious nightmares that have been penned down since the last century. This paper attempts to deconstruct the four pillars of dystopian narrative: Brave New World by Aldous Huxley, 1984 by George Orwell, Fahrenheit 451 by Ray Bradbury and The Handmaid’s Tale by Margaret Atwood. The deconstructive analysis, done through psychoanalytic criticism, would be based on both the Freudian and Jungian principles. The novels selected are dystopian in nature, keeping in mind the postcolonial society and the crisis that it has been facing since the advent of the world wars. Some of the major analytical theories have been taken up together by this paper: deconstruction to point at the horror from the closest point of examination and psychoanalysis that will help with a better understanding into the psyche of the protagonists. This paper aims at giving a better insight into the postmodern dystopian society as a whole, seeking to provide a solution rather than posing a problem. “The beauty of dystopia is that it lets us vicariously experience future worlds – but we still have the power to change our own.” – Ally Condie This is exactly what this paper aims to present: an understanding of the future agitations, so that postcolonial dystopia remains a vague abstraction, never concretised!
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Simonova, S. A., N. A. Garshin, and V. L. Alikhanova. "The Problem of Massovization of Dystopia as a Genre of Art in the Risk Society." Язык и текст 8, no. 3 (2021): 38–45. http://dx.doi.org/10.17759/langt.2021080305.
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The problem of this article is the problem of transformation and massization of the genre of dystopia and its loss of its essential features. The hypothesis of the study is the existence of a close relationship between the processes of massizing art and the popularization of dystopia in modern mass culture and public consciousness. The authors draw attention to the role of dystopia in modern society, which can be characterized as a risk society, as well as to the influence of dystopias on the consciousness of the masses. The main methodological technique is functional analysis. In addition, dialectics, the principle of historicism and comparative analysis are applied. The result of the study is the provision that in modern society there is an emphasis on the process of massization of art, during which the border between elite and mass culture becomes much less obvious. In addition, the study clarifies the role of literary works in spreading risks and the requirement of moral, and possibly legal responsibility for such acts. The key conclusion is the provision according to which, in the conditions of blurring the boundaries between elite and mass art, dystopia is becoming a popular genre and has an impact on social reality.
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Bešková, Katarína. "Resisting Closure, Defying the System: Two Dystopian Novels from Egypt." Al Abhath 71, no. 1-2 (December 11, 2023): 208–29. http://dx.doi.org/10.1163/2589997x-00710111.
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During the past decade, the Egyptian literary scene witnessed the rise of dystopian novels. Even though the emergence of this genre stems mainly from the overall socio-political conditions and the general atmosphere of oppression in the country, this phenomenon has often been interpreted in terms of the disappointing results of the 25th January revolution in 2011. Since dystopias generally paint a bleak picture of society, they are often believed to reflect a rather pessimistic view of their authors. However, according to R. Baccolini and T. Moylan’s theory of critical dystopia, a utopian impulse and hope for better tomorrows can be preserved in dystopias through an open ending. While knowledge of history together with access to personal and collective memories and gaining control over means of language all play a crucial role in dystopian resistance against the hegemonic order and its narratives, it is the absence of closure that opens up the possibility for the opposition to succeed. The aim of this paper is to analyse two contemporary critical dystopias from Egypt, namely Aḥmad Nājī’s Istikhdām al-ḥayāt and Basma ʿAbd al-ʿAzīz’s al-Ṭābūr, with regard to Baccolini and Moylan’s theory and to show how the absence of closure in these literary works can help defy the oppressive system. Since an open ending invites readers to finish the story on their own, it can even call them to action. That being the case, the paper argues that these critical dystopias are at their very heart not as pessimistic and defeatist as first impressions might suggest.
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Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.
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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Varal, Seçil. "Mere solidarity is not enough: Exploring dystopian reality in Edward Bond’s 'The Tin Can People'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 135–48. http://dx.doi.org/10.26881/bp.2018.3.07.
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Solidarity is an indispensable part of the utopian and dystopian world since people gather around a common cause either to create an ideal community or to get rid of a difficult situation. Unlike utopia, in which solidarity mostly comes out voluntarily, in dystopia, it grows up compulsorily triggered by emotions such as anxiety, distrust, paranoia, and fear primarily due to a totalitarian regime or the effects of a nuclear war. However, in The Tin Can People (1984), British playwright Edward Bond propounds a new perspective to postapocalyptic dystopia by portraying a group of people who create a utopian community, a heaven in the aftermath of a nuclear holocaust, as a result of living in solidarity. This article aims to trace how dystopian world reveals the bitter ‘reality’ against this illusionary heaven with the arrival of a stranger and dissolves the community despite the solidarity that the survivors have been preserving for years to show that mere solidarity is not enough to save a community.
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Khudhair obid, Al-Mamory Yasir, and Yu A. Kreidun. "THE PROBLEM OF VIOLENCE, CRIMINAL DYSTOPIA AND THE DIALECTICS OF (DIS)ORDER IN CONTEMPORARY FILMS." Arts education and science 4, no. 33 (2022): 114–21. http://dx.doi.org/10.36871/hon.202204114.
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The subject of the research is the themes of violence, cruelty, crime and disorder represented in the dystopian films. The theoretical and methodological basis of the scientific search is provided by the fundamental humanitarian principles of anthropocentrism, poly-paradigmatics and interdisciplinarity, which serve as the basis for a comprehensive analysis of the genre and stylistic specificity of dystopia. The comprehensiveness of the obtained results is achieved by applying a number of general scientific and special methods. First of all, the study is based on the use of comparative analysis, methods of generalization and grouping, abstraction, associative mapping, classification. The scientific novelty lies in the formalization of human fears, associated with the inability to order, to civilize them and to make one's live safer. The analysis was carried out on the example of such films as "The Hunger Games", "Divergent", "Particular Opinion", "The Purge", "Mad Max: Fury Road". The article pays special attention to the disclosure of the phenomenon of the dystopian vector in contemporary cinema, which marked a new trend in the cultural sphere. Also, the analysis of filmography examines the different substances of fear. Using concrete examples of criminal dystopias, the meaning behind the demonstration of violence is uncovered. The study finds that a dystopian aesthetic of violence can conceal the failures and antagonisms of the social order in the present, as well as emphasize the anti-utopian fears of the future.
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Cheyunski, Fred. "Dealing with Dystopia." ALCEU 22, no. 46 (May 18, 2022): 56–76. http://dx.doi.org/10.46391/alceu.v22.ed46.2022.282.
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In recent years, commentators have characterized the disruptive social occurrences and technological change as dystopic. As we attempt to address and deal with this melee of events with their associated emotions and reactions, this article mines media ecology literature, the work of renowned Brazilian educator, Paulo Freire, and other sources to propose some answers and choices for the path forward. More specifically, this article defines dystopia and describes Freire’s Gnostic Cycle, which is comprised of active research, learning and teaching as a possible antidote. It highlights media ecology articles complementary to Freire that may be further leveraged. Finally, the article focuses on Freire’s Gnostic Cycle in offering suggestions regarding future media ecology work to contribute in building a post pandemic world.
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Martorell Campos, Francisco. "Nueve tesis introductorias sobre la distopía." Quaderns de Filosofia 7, no. 2 (February 9, 2021): 11. http://dx.doi.org/10.7203/qfia.7.2.20287.
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Nine introductory theses about dystopia
Resumen: Este artículo proporciona una introducción actualizada a la distopía y una exégesis del apogeo ilimitado que esta vive. Y lo hace planteando nueve tesis. El supuesto de partida es que el término “distopía” no designa solamente una forma literaria. Sus premisas, metodologías y actitudes elementales son visibles en el pensamiento social contemporáneo y otras muchas expresiones culturales. En las dos primeras tesis diferencio el género distópico de otros géneros afines y sondeo las coincidencias temáticas que atesoran sus expresiones literarias y filosóficas. A lo largo de las tres tesis posteriores, señalo las causas sociales e ideológicas que subyacen a su hegemonía actual. Finalmente, dedico las cuatro últimas tesis a calibrar las implicaciones políticas de la distopía y a determinar las relaciones que guarda con la utopía.
Abstract: This article provides an up-to-date introduction to dystopia and an exege- sis of its huge heyday, in nine theses. The starting point is that the term “dystopia” does not designate only a literary form. Its basic premises, methodologies and attitudes are visible in contemporary social thought and many other cultural expres- sions. In the first two theses, I distinguish the dystopian genre from other related genres and probe the thematic coincidences among their literary and philosophical expressions. Throughout the three subsequent theses, I point out the social and ideological causes that underlie its current hegemony. Finally, I devote the last four theses to calibrating the political implications of dystopia and to determining its relationship with utopia.
Palabras clave: distopía, utopía, antiutopía, progreso, imaginación.
Keywords: dystopia, utopia, anti-utopia, progress, imagination.
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Moosavinia, Sayyed Rahim, and Anis Hosseini Pour. "WOMEN IN A NIGHTMARISH UTOPIA: THE EFFECT OF TECHNOLOGY IN BRAVE NEW WORLD." Folia linguistica et litteraria XII, no. 36 (September 2021): 57–72. http://dx.doi.org/10.31902/fll.36.2021.4.
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In Brave New World, Aldous Huxley shows us a society in which technological advances have changed the entirety of human life on earth. The opening of the novel does not strike the reader as dystopian and certainly neither does the title. But as we go on, we find that free thinking is limited or nonexistent by the manipulation of scientific advances like hypnopedia and genetic conditioning. On one hand, Huxley paints a picture-perfect society that is at the height of civilization with genetic and scientific advances. On the other hand, he shows us the nightmarish utopia by the lack of moral values in the society. Utopia turns into dystopia when we witness the inferior role of women and the humiliation of the intellectual. In addition, the natural process of childbirth is controlled in test tubes. Furthermore, there is no place for religion, literature, and family values. Lastly, Huxley warns the readers about what technology devoid of value could do to human beings. What is more, is the effect of technology on women which is portrayed through the image of utopia turned into dystopia: a society that mandates promiscuity in the name of civic duty in addition to the removal of the female body from childbirth. Dystopian literature is by nature critical; hence, women’s inferiority along with the misuse of a gendered approach to technology highlights toxic patriarchy in the society. It shows Huxley’s warning about the destructive effect of dystopia on women.
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Rahariyoso, Dwi, and Dimas Sanjaya. "COVID-20 DAN SEPILAHAN FIKSI LAINNYA SEBAGAI BENTUK SASTRA DISTOPIA." Caraka: Jurnal Ilmu Kebahasaan, Kesastraan, dan Pembelajarannya 7, no. 1 (December 29, 2020): 130–43. http://dx.doi.org/10.30738/caraka.v7i1.8493.
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This article discusses the literary narrative of dystopia in Covid-20 and Other Sorts of Fiction. This study aims to determine the formulation of dystopia and discourse short stories offered in Covid-20 and Other Fiction. This research is a qualitative descriptive study with the postmodernism approach of Jean-Francois Lyotard. For data collection with literature study. To analyze the data using the descriptive analysis method. The research results found that dystopian literature provides formulations in it, namely, the time landscape (the future of the world and the Divine), catastrophic situations (dehumanization, chaos), coveted transformations, in which a new but unpleasant world is created due to social degeneration, an order. destructive social activities, or the consequences of social transformation efforts that lead to disasters.